documentation of spiritual performance: feat myself ingesting wine and 'Eucharist Europe bread', in congregation with my ceramics.

The artist explores European identity construction through ritualistic ingestion, examining neoclassical ideologies and their whiteness. Drawing from Rosi Braidotti's Posthuman theory, the work employs Eucharist ceremony -- bread and wine -- as commentary against contemporary Islamophobia across Europe.

The artist references her Acropolis Museum visit, weaving ritual, religion, and museum contexts with literal historical digestion through bodily consumption. The piece emerged as commentary on contemporary political malaise, then evolved responding to Brexit and UK xenophobic campaigns.

Ceramic vessels feature paired female heads with reversed European map imprints used for bread-making. The heads functioned as wine and urine receptacles. The glaze palette derives from EU flag colors -- unified, dripping, high-gloss yet moldy-textured, suggesting continuity alongside randomness.

The ceramics function as circulation tools: heads as toilets, goblets, dough presses -- representing EU trading goods, currency, and human ethics stakes within geopolitical transactions.

The performance documents skin painted matching ceramic glaze, embodying the objects themselves. Breaking bread bare-handed like a 'puppeteer-power-lord,' deliberately naive and childlike.

The work addresses the far-right's rise, xenophobic propaganda machines, and steering lower-middle classes toward nationalist hatred. Physical engagement with Europe-representing material until sickness materializes charged discussion.